By: Evan J. Thomas

Some bands fade away. Some bands slow down. And then there's Anvil a band that has spent nearly five decades proving that pure heavy metal determination can outlast trends, fads, and even common sense.
On a thunderous night at WC Social Club in West Chicago, Illinois, Canadian metal legends Anvil delivered a performance that was equal parts history lesson, celebration, and reminder that true metal never dies.
Opening the evening was New Jersey's own Midnite Hellion, who wasted no time igniting the crowd with their blend of traditional heavy metal and high octane energy. The band attacked the stage with enough enthusiasm to make it clear why they've become one of the most respected independent metal acts on the scene. I found out before their set that their guitar player just two days into the tour couldn't handle the grind and went home.  So instead of having a three piece band, Midnite Hellion went with just a bass player and drummer and they put on one hell of a performance!!  
Then it was time for Anvil.
As soon as founding members Steve "Lips" Kudlow and Robb Reiner took the stage, the room transformed into a sweaty, headbanging metal sanctuary. There was no elaborate production, no flashy gimmicks, and no distractions just decades of experience, blistering guitar work, and a genuine love for performing.

Lips began the set standing on the middle of the floor amongst the fans and he ripped through the first song.  Lips remains one of the most entertaining frontmen in heavy metal. His humor, charisma, and unmistakable guitar tone had the crowd in the palm of his hand from the opening notes. Whether shredding through classics or sharing stories between songs, he made the intimate venue feel like a gathering of old friends united by a love of metal.

We got to hear some of his stories from his friendship with Lemmy of Motorhead and why their video for "Mad Dog" got banned by MTV back in the day. 
The band ripped through a set packed with fan favorites and deep cuts, each delivered with surprising intensity. For musicians who have spent nearly fifty years on the road, Anvil showed no signs of slowing down. Reiner's drumming was thunderous, driving each song forward with precision and power, while the rhythm section locked in to create the unmistakable foundation that has defined the band's sound for generations.
What made the night truly special was witnessing a band that still performs with the hunger of musicians trying to earn their first record deal. There was no phoning it in. No autopilot. Every riff, every solo, and every chorus felt authentic and passionate.
The intimate atmosphere of WC Social Club only amplified the experience. Fans were close enough to see every guitar lick, every smile, and every ounce of sweat pouring from the stage. It was heavy metal stripped down to its purest form.  The chants of "Anvil, Anvil, Anvil" between songs made the band feel more than welcomed. 
As the final notes rang out and the crowd roared its approval, one thing became crystal clear: Anvil isn't surviving on nostalgia. They're thriving because they continue to embody everything that made heavy metal great in the first place dedication, authenticity, and an unwavering commitment to the music.
For one night in West Chicago, Anvil reminded everyone why they remain one of metal's most beloved and respected institutions, while Midnite Hellion proved that the next generation is ready to carry the torch forward.

By: Kat Gullate

AVATAR. Not the James Cameron films with the blue people. Not The Last Airbender (The Legend of Aang) animated series. Not the digital icon that represents your online persona. The literal definition of the word is “something that embodies something else”.
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This article is about the Swedish metal band AVATAR that I can’t shut the fuck up about. This group is the complete package. I’ve reviewed a lot of bands, eighty last year alone, and AVATAR has been in my top three favorite shows consistently. Read on to find out why!

I found Fleshgod Apocalypse to be a fitting opener for AVATAR. I was unfamiliar with the Italian symphonic death metal outfit prior to this gig. My first impression was that I loved their haunted Victorian circus aesthetic and the fact that they included a piano, but I had heard the growling vocals and the speed metal riffs plenty of times before. I was pulled from the familiar the moment Veronica Bordacchini emerged and unleashed her stunning operatic vocals. Think Amy Lee of Evanescence singing opera. Suddenly they had my full attention. Fleshgod Apocalypse has six studio albums and their eight song set pulled from five of em. They opened with two from their latest work, Opera, with “Ode To Art (de’ Sepolcri)” and “I Can Never Die”. Veronica greeted us
in her just as lovely speaking voice, “Ladies and Gentlemen, we are Fleshgod Apocalypse. Pleasure to be with you tonight.” She called for horns in the air and the fans obliged as they filled the room with them. “Minotaur (The Wrath Of Poseidon)” (Labyrinth) and “The Fool” (King) had the two guitarists and drummer head banging in sync. At one point the piano player left his perch to sing a chorus but I could barely hear him and thankfully Veronica returned with her powerful phonation quick enough. She incited a “Hey! Hey! Hey!” incantation with the crowd. Even the drummer left his perch to come up front and encourage the audience. “Wallingford, are you ready to chant? Wallingford do you want to hear more?” The fans answered enthusiastically. “This next one is for you and it’s called “Pendulum” (Opera). I want to see you move on this one!” A circle pit did in fact
break out on her command. “Good Evening Wallingford. Who’s seeing us for the first time?” A lotta hands went up. “That makes sense. We need love.” She got the entire crowd to sway with her as they waved their hands overhead left to right. The drummer clamored up to the front of the stage again to urge us on. He was fun to watch, in a constant state of motion. They served up “Sugar” (Veleno) and “Epilogue” (Labyrinth). “Still with me? Show me whatcha got once more!” The pit engaged as they closed with “The Violation” (Agony). Veronica was backed by Fabio Bartoletti on lead guitar, Francesco Paoli on bass and vocals, Francesco Ferrini on piano
and the entertaining Eugene Ryabchenko on drums. I appreciated Fleshgod Apocalypse showing me something different but death metal fused with operatic grandeur could be labeled as an acquired taste. Take a peek at their catalog and explore for yourself. Grazie!

My beloved Swedes that make up the band AVATAR could be described as a melodic death metal band but they’re so much more. They have ten studio albums and their heavy yet carefully constructed seventeen song set pulled from seven of em, including six from their new release Don’t Go In The Forest. The spectacle began with a long prerecorded storm intro before they emerged. The drum kit split in half to allow them to be pulled forward on a rolling platform. Each member bathed in a cloak and blue light, as frontman and singer Johannes wielded a lantern, possibly a magic one, they performed “Captain Goat”. As the final notes rang out the venue
went black and the lantern light faded to nothingness. Then BOOM! they shed the cloaks and all of them, except for the drummer, started banging their heads like madmen in violent synchronicity for “Silence In The Age Of Apes” (Hunter Gatherer). All of the guitarists flexed their exceptional skills on that track. The drum kit split and Johannes was pulled backward into the darkness. The kit returned into position and the guitarists hit the opening chords of “The Eagle Has Landed” (Feathers And Flesh) which cued the crowd surfers before the singer could even take his place at the helm. As the song wrapped Johannes encouraged fans on the right side of the venue to scream, then the left side, repeatedly at an increasing pace, until the roars were merged into one continuous bellow. The frontman greeted us with “Well, well, well. I mean Wallingford. Look at you.

Aren’t you the prettiest buncha freaks I’ve ever seen. Think I’m gunna have my way with all of you tonight.” A wave of excitement rolled over the submissive audience. “Let me give a proper introduction. We are AVATAR and it’s great to see you again. Are there any metalheads in Wallingford?” There were and they obliged on command. “Wanna hear a fast song? Can you keep up with AVATAR? Can you keep up with me? Show me something!” A circle pit broke out as they launched “In The Airwaves” and the spectators indeed tried to keep up. The venue went dark at the song’s conclusion only for Jonas to appear and riff the beginning of “Bloody Angel” (Hail The Apocalypse), quickly joined by Tim to perform while simultaneously swaying back and forth.
Johannes emerged in the black hat and long red coat that he sports in the video and they delivered a near flawless version of the fan favorite. “Let’s Dance!” was the segue to “Death And Glitz” and the gathered applauded in unison. The end of the song found every member of the band frozen in place. Once the fans created an adequate amount of noise, a figure emerged to bring them back to life. Phew! AVATAR changed up the next song throughout the tour, we got “New Land” (Feathers And Flesh). Johannes stated that “Wallingford made him feel dirty” and “The Dirt I’m Buried In” (Dance Devil Dance) was on deck, complete with the singer doing his awkward yet charming bad disco dance moves from the video. It’s OK darlin, AVATAR shows are a safe space. Bright red lights and siren sounds introduced “Colossus” (Hunter Gatherer) which had all the players, including the drummer on a smaller kit, lined up front and center. Afterward, hidden under the cloak of darkness, the drummer reappeared behind his main rig and the others commenced their signature hair windmills as they tore into “Torn Apart” (Black Waltz). That metal mayhem led to one of my fave parts of the show. The drum kit split again to allow a black baby grand piano to glide through before piecing itself back together. Johannes took a seat and began playing “Somewhere Over The Rainbow” as the loyals cheered him on until he hit a wrong note on purpose and made a comical yet maniacal face at us. “You’re having fun?” A roar erupted. “That wasn’t a question. But thank you. Thank you for being here with us tonight Wallingford. You
are a very good time indeed, you’re giving us a very good time and I’m glad we get to give you a good time in return. It’s a good night. It’s a good line up.” He gave enthusiastic shout outs to the openers. “What do you think about my jacket? This is the piano jacket. We wear it when we play the piano. So whaddaya say Wallingford? How bout a song?” New track “Howling At The Waves” was laid on us like a cozy weighted blanket. Weighted by metal of course. It was then time to pay our respects to the King, lead guitarist Jonas, as he materialized in his well earned throne for “Legend Of The King” (Avatar Country) while we loyal subjects basked in his glory of excellence. A costume change had also occurred and the AVATAR players now donned short white coats versus the tight black outfits they had on prior. When the drum kit split to swallow up the throne, John was still playing them. Jonas stayed behind to lead us into “Let It Burn” (Black Waltz) and John’s
drum intro piloted into “Tonight We Must Be Warriors” which ignited a crowd sing a long, but also marked the end of the main set as the band quickly exited. Before long we were greeted with nature sounds like crickets and owls and a lone red balloon that floated in a straight line in front of us, seemingly under its own mysterious power, leading to a perfect rendition of “Don’t Go In The Forest”. Johannes then teased how many more songs we should get, “One? Two?”. When fans began to yell out unreasonable numbers he threatened playfully that we could get none. We shut the hell up and he found us worthy of two more. “We are AVATAR and this is “Smells Like A Freakshow” (Black Waltz).” The pit erupted and the number of crowd surfers increased all the
way through the closer, title track “Hail The Apocalypse”. AVATAR took a bow, showered us with genuine gratitude, threw out picks and sticks and make quick personal connections with as many as they could on their way out. “Be good to yourself. Be good to each other. I see nothing but beauty here tonight. You matter.”

AVATAR is Johannes Eckerström lead vocals and ringleader, guitarists Jonas “Kungen” Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson. They are the complete package. A well oiled machine firing on all cylinders. Music performed by outstanding talented musicians. Not just heavy stuff, you’ll also be serenaded on a piano and exposed to groove and disco beats. Arena worthy light show and theatrics in smaller rooms. Props and moving parts. Authentic fan appreciation. Still need more ya greedy fucks? Johannes’ tongue is something Gene Simmons would be jealous of, probably has ladies swooning worldwide and whatnot. I caught the second to last date of this run and they showed zero signs of fatigue. Not even the singer’s vocal chords which hit impressive ranges throughout the evening consistently. They have proven stamina as their song “The Dirt I’m Buried In” took the longest journey to number one in the past twenty years. They tour relentlessly, probably don’t even have time for Fika. They are now performing dates overseas, including a few stops opening for Metallica. I implore you to take my advice and check out AVATAR. Cuz as you can tell, I can’t shut the fuck up about them.

By: Evan J. Thomas

Saturday night at The Forge was a relentless collision of crushing riffs, emotional intensity, and pure metal chaos as Infected Rain headlined a stacked lineup alongside Stitched Up Heart and local Chicago heavy hitters From Ashes To Embers and Bachelor’s Grove.


The energy inside The Forge felt electric. Fans packed the venue early, ready for a night filled with breakdowns, screaming vocals, and nonstop movement. The lineup blended national heavyweights with rising local talent perfectly, creating one of the strongest metal shows to hit the area this year.


Opening the night were Chicago area bands From Ashes To Embers and Bachelor’s Grove, both proving the local metal scene is alive, aggressive, and hungry.

Bachelor’s Grove brought a dark and  aggressive atmosphere that fit perfectly inside The Forge to kick off the evening. Their set hit with intensity and precision, delivering crushing riffs and powerful vocals that kept the crowd fully engaged. By the end of their performance, the venue had officially transformed from a concert crowd into a full metal crowd.


From Ashes To Embers massive energy as they attacked the stage with the confidence of a band determined to leave a mark. Their set balanced melody and heaviness well, pulling the crowd in early and immediately getting heads moving throughout the venue. The band’s chemistry and stage presence stood out, especially during their heavier breakdown driven moments that shook the floor.


When Stitched Up Heart took the stage, the night elevated to another level entirely. Frontwoman Mixi commanded the room with a combination of emotional vulnerability and explosive aggression that immediately connected with the audience. The band sounded massive live, blending hard rock hooks with metal intensity while keeping the crowd fully engaged from start to finish.


Their set carried an emotional weight that hit just as hard as the music itself. Between soaring choruses and crushing instrumentals, Stitched Up Heart delivered one of the most balanced performances of the evening equal parts emotional and destructive.


The crowd response only grew louder with each song, and by the end of their set, the venue was completely fired up for the headliners.


Then came Infected Rain and absolute chaos followed.  From the second the band hit the stage, the room erupted. Circle pits opened instantly, fans screamed every lyric, and the energy inside The Forge exploded into nonstop movement.


Frontwoman Lena Scissorhands delivered one of the most commanding performances The Forge has seen in recent memory. Her ability to shift between haunting melodies, brutal screams, and complete stage domination was mesmerizing. She controlled the crowd effortlessly while feeding off the audience’s intensity all night long.


Musically, Infected Rain sounded devastating. The band’s mix of groove, nu metal influence, modern heaviness, and atmospheric elements hit with incredible force live. Every breakdown landed hard, every transition felt massive, and the entire set carried a dark, cinematic intensity that never let up.


What made the performance special wasn’t just the heaviness it was the connection between band and crowd. The audience wasn’t simply watching the show; they became part of it. Fans screamed lyrics back, raised fists in the air, and gave every ounce of energy right back to the stage.


The combination of local talent, emotional hard rock, and international metal intensity created a perfect storm at The Forge.  From Ashes To Embers and Bachelor’s Grove showcased the strength of Chicago’s underground heavy scene, Stitched Up Heart delivered emotionally charged power, and Infected Rain closed the night with a performance that felt absolutely explosive from beginning to end.

By: Evan J. Thomas

Chicago, IL got hit with a wave of pure hard rock chaos on Friday May 22 as TX2, From Ashes To New, and Black Veil Brides stormed the stage at Ramova Theatre for a night that balanced raw emotion, explosive energy, and arena sized performances inside one of Chicago’s most intimate venues.
From the moment doors opened, fans lined the barricades early, dressed in black eyeliner, battle jackets, and band merch spanning multiple generations of modern rock and metalcore. The barricade was chock full of shrieking fans as each band took the stage.  The Ramova Theatre’s atmosphere felt electric before a single note was even played.

I got there just as TX2 took the stage missing the first band, TX2 wasted absolutely no time throwing the crowd into a frenzy. Known for blending heavy rock with emotionally charged lyrics and a rebellious edge, the band delivered a set that felt part concert, part cathartic release.
Frontman Evan Thomas (No relation to me) commanded the stage with relentless energy, bouncing between moments of vulnerability and outright chaos. Songs hit hard both sonically and emotionally, with the audience screaming lyrics back almost as loudly as the band itself.
TX2’s stage presence thrives on unpredictability, and that unpredictability worked perfectly in the theater setting. The set felt dangerous in the best possible way... raw, loud, and unapologetically honest. By the end of their performance, the crowd was fully awake and already sweating.

When From Ashes To New took over, the intensity jumped another level.
The band delivered a crushing performance packed with massive choruses, razor sharp production, and enough bass to shake the walls of the venue. Their ability to seamlessly blend hard rock, metalcore, rap elements, and emotional songwriting continues to separate them from many of their peers in modern heavy music.
Tracks exploded live with incredible precision, but what stood out most was the crowd connection. Fans didn’t just watch the performance they became part of it. Every chorus became a massive singalong, every breakdown ignited movement throughout the theater floor.  The highlight for me was when Matt B. announced that their new song "Drag  Me" has been number one on the chart for a few weeks now and they just ripped into the song with furiousity.  
The lighting production elevated the experience even further, flooding the stage in aggressive reds, deep blues, and blinding strobes that matched the emotional swings of the music.
From Ashes To New delivered a set that felt huge while still remaining personal, proving once again why they’ve become one of the strongest live acts in modern hard rock.

By the time Black Veil Brides hit the stage, the Ramova Theatre had transformed into a full scale rock spectacle.
Opening to deafening shrieks and screams from the adoring fans, the band immediately showcased why they’ve maintained such a loyal fanbase over the years. Their performance balanced theatricality, precision musicianship, and emotional connection in a way few bands can pull off.
Andy Biersack (Black) owned the room from the moment he stepped into the spotlight. His vocals sounded powerful throughout the set, effortlessly shifting between soaring choruses and darker, heavier moments. Meanwhile, the guitar work brought the signature melodic energy fans have come to expect from Black Veil Brides.
The crowd response was nonstop. Hands stayed in the air, voices screamed every lyric, and the theater floor moved like a living organism throughout the night.
What makes Black Veil Brides stand out live is their ability to make every performance feel larger than the room they’re playing. Even inside the Ramova Theatre, the band performed with the energy and confidence of a festival headliner.
The set closed with a massive emotional payoff, leaving the Chicago crowd exhausted, exhilarated, and wanting more.

The combination of TX2’s chaos, From Ashes To New’s crushing heaviness, and Black Veil Brides’ theatrical anthems created one of the strongest hard rock lineups to hit Chicago this year.
Each band brought something unique to the night, but together they created an experience that perfectly captured the current state of modern rock: emotional, aggressive, honest, and alive.
For Friday night, the intimate feel of Ramova Theatre became the loudest place in Chicago and every fan inside loved every second of it.  Rock On! 

By: Evan J. Thomas

Monday, May 18, 2026, The Rave / Eagles Ballroom in Milwaukee transformed into a sonic battleground where styles, cultures, and decades of influence collided and the result was nothing short of incredible.
From the moment doors opened, there was an energy in the air. With a lineup featuring bands not from the USA,  The Rasmus, Apocalyptica from Finland and The Hu from Mongolia the night delivered a dynamic, genre spanning experience that kept the crowd locked in from start to finish.

Kicking off the night, The Rasmus wasted no time pulling the crowd in with their signature blend of dark alternative rock and arena ready hooks. Their set carried a moody intensity, balanced perfectly with soaring choruses that echoed through the historic venue. I wasn't very familiar with the band but once they hit the stage they didn't feel like an opener. Tight, polished and emotionally charged, they primed the audience for what was next. 

Then came Apocalyptica, and the entire room shifted and holy shit did it shift.
There’s something almost surreal about hearing Metallica classics performed on cellos but Apocalyptica doesn’t just cover these songs, they reimagined and reinvented them. Every note carried weight, every arrangement added depth, and somehow, the absence of traditional guitars made the music feel even more powerful and wow did they pull the crowd in as they sang with every song word for word. 
Tracks hit with a cinematic intensity massive, dramatic, and emotionally gripping. The precision of their playing combined with the raw force behind each performance turned familiar Metallica songs into something entirely new, yet still instantly recognizable and highly impressive.


By the time The Hu hit the stage, the crowd was more than ready and they delivered a closing set that felt like a full on cultural takeover.
Blending traditional Mongolian instrumentation with heavy rock and metal, The Hu created a sound that is completely their own and live, it’s even more powerful. Deep, throat sung vocals rumbled through the venue while pounding rhythms and hypnotic melodies drove the energy higher with every song.  The chants, the growls were deeper and exciting. 
There was something primal about it. The kind of performance that doesn’t just entertain it connects. The crowd fed off it, and the band gave it right back, turning the entire room into a unified, headbanging force. 
This wasn’t just a concert it was a journey across genres, styles, and cultures, all tied together by one thing: the power of music.  The Rave/ Eagles Club in Milwaukee was one of the loudest club shows i've heard in a long time.  

Each band brought something completely different to the table, and somehow, it all worked perfectly.
A reminder that live music, at its best, isn’t just heard… It’s a moment, it's an experience and it's felt and that night it was a global display of bad ass music. 

By: Evan J. Thomas

There are rock shows… and then there are Fozzy shows.
This past Friday night, Fozzy rolled into the historic Arcada Theatre in St. Charles, IL on their Twisted Faith Tour alongside Spineshank and Who On Earth, delivering a night that felt like a celebration of everything unapologetically fun about hard rock.
The Arcada itself added to the atmosphere immediately. The vintage theater’s old-school charm collided perfectly with the modern chaos happening onstage. It created this strange but awesome contrast with historic walls shaking from pounding drums, massive singalongs, chants for Fozzy and enough energy to wake the dead.
Opening acts Spineshank and Who On Earth did exactly what great support bands are supposed to do: warm up the crowd and crank the intensity meter into the red. Spineshank brought a heavy nu metal punch that hit with pure early-2000s aggression, while Who On Earth delivered riff-heavy hard rock with confidence and swagger. By the time the lights dropped for Fozzy, the room was fully locked in.
And then came the explosion. The second Fozzy frontman Chris Jericho hit the stage, the entire venue transformed. Whatever people think about Jericho outside of music becomes irrelevant once the show starts. The guy knows exactly how to command a crowd. He doesn’t simply perform songs he works the room like a veteran ringmaster leading a rock and roll riot.
Fozzy’s set was built for maximum crowd reaction. Huge choruses, fists in the air, nonstop movement, and the kind of arena rock energy that somehow still works perfectly inside a theater setting. The band sounded massive, with guitarist Rich Ward delivering riff after riff with absolute precision while still keeping things loose and fun.
The crowd erupted for staples like “Judas,” which essentially turned into a full-building choir at that point. It wasn’t even a performance anymore it was audience participation on a ridiculous scale. Songs hit harder live than they do on record, fueled by volume, adrenaline, and the undeniable chemistry between the band and crowd.
What makes Fozzy stand out live is that they never come across as overly serious or robotic. There’s personality in everything they do. The band understands that rock shows are supposed to feel exciting, unpredictable, and larger than life. Too many acts forget that. Fozzy leans directly into it.  And honestly? That’s why it works.
The Twisted Faith Tour stop at the Arcada wasn’t about reinvention or artistic subtlety. It was about loud guitars, giant hooks, crowd interaction, and leaving people buzzing on the way out the door. Mission accomplished.

By: Evan J. Thomas

Chicago got a full-spectrum dose of heavy on a night that felt less like a concert and more like a controlled demolition. With  Whores., Crobot, and Corrosion of Conformity  stacked on the same bill, the stage at Outset in Chicago didn’t stand a chance and neither did anyone hoping for a quiet evening.

The place was packed from the start as Crobot kicked things off, and the vibe shifted from pure aggression to groove-heavy swagger. Crobot was the muscle car of the night... loud, fast, and built to move.
What stood out immediately was their commitment to the future over nostalgia. Instead of leaning heavily on fan favorite classics like "Low Life" or "Rat Child", Crobot packed their set with a strong dose of new material off of their new album Supermoon, giving the audience a front row seat to where the band is heading rather than where they’ve been. It’s a bold move in my mind especially for a band with a catalog that fans love but it paid off and the reception was welcoming.

The new tracks hit hard live. They carried that signature Crobot DNA, dirty riffs, bluesy swagger, and infectious groove but with a fresh edge that felt more refined and confident. You could feel the band pushing themselves, evolving in real time, and trusting the crowd to come along for the ride.
That said, for longtime fans, the lighter presence of older favorites was noticeable. There’s always a balance to strike between showcasing new music and delivering the hits people came to hear, and Crobot leaned heavily into the former. But instead of feeling like a miss, it felt like a statement: this band isn’t looking backward they’re building something new. And live, it works.

Whores. took the stage next with zero interest in easing the crowd in. Their set was loud, abrasive, and unapologetically punishing in the best way possible. The band thrives in that sludgy, noise rock chaos, and live, it hits even harder. Guitars buzzed like a live wire, drums felt like blunt force trauma, and the crowd quickly realized this was going to be one of those nights. No frills, no filler just raw, aggressive energy that set the tone early.

By the time Corrosion of Conformity hit the stage, the room was primed for something massive and they delivered exactly that. Veterans of the game, C.O.C. brought a level of presence that only comes from decades of doing it right. Their set was thick with southern groove, heavy riffs, and that unmistakable weight that defines their sound.

They didn’t need to prove anything they just owned the fucking room. Every note felt deliberate, every groove locked in, and the crowd responded accordingly. It was the kind of performance that reminds you why bands like this still matter.
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By the end of the night, Outset had been through it all, three bands, three distinct flavors of heavy, all hitting from different angles but landing just as hard.

And if Crobot’s set proved anything, it’s this sometimes the most interesting move a band can make… is not playing it safe.